The technical advance, which in some measure replaced the influence of the rising art of painting by that of metal-working, is shown more plainly in the figured representations, particularly the friezes of animals, which the vase-painters, inspired by Oriental metal ware and embroideries, with ever greater zest employ on their vases. Beside the birds, stags and roes, beside the dogs pursuing hares, with which a lower stripe could be easily filled, come new animals, for which they are chiefly indebted to Oriental art, bull, goat, bear, ram, wild-goat, lion and panther, sphinx, siren, griffin, and other hybrids. These creatures appear in quite definite types, which admit of little variety: it is characteristic that the panther’s head is drawn in front view, perhaps through an abbreviation of a heraldic double panther; and this rule is devoutly observed through the whole period of decoration with animal friezes. An indication of this is that the decorative animals never become pure outlines like the human figures, but after a period of partial silhouette (p. 31), return to the complete silhouette, as satisfying better the requirements of decoration. This return became possible through the use of the incised line, by the help of which interior drawing could be added on a black ground, and the effect of the figures was further enhanced by the addition of details in red. This is an important innovation in the history of Greek vase-painting. The general effect of the vase is completely altered by the decorative play of colour, which extends also to the ornamentation, and takes on that gay many-coloured aspect which is so characteristic of the older archaic period, and which is only dropped late in the 6th century. The new colour system does not aim at realism; it makes prominent for decorative purposes single parts of the animal body, especially the neck and belly.